Analysis Of Arth 202 : Survey Of The History Of Western Art II

This paper is a formal analysis of the Marble grave stele with a family group relief sculpture. It is a pentelic marble style relief standing at 171.1cm tall carved by a master. It is from the Late Classical period of Greek, Attic which was completed around ca.360 B.C. . I chose to analyze this piece as apposed to the others because I’m mainly attracted to art and sculptures from the Greek era. The overall color used in this relief is ivory with a few cracks and pieces broken off. There is some discoloration which causes the color to come off as slightly light brown for most of the relief. The sculpture appears larger compared to the other sculptures in the art room. It represents a family which includes a man, his wife, and their

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

The Friar is always ready with a plan. He has a civil relationship with most characters and doesn’t have any enemies, in the play, which is unusual as most characters have an enemy. Tybalts enemy is Romeo and Lord Capulets enemy is Lord Montague. As a character the Friar is concerned about the feud and will do anything in his power to stop it “To turn your households’ rancour to pure love”. He always wants to do the right thing by everyone but his decisions and actions end in

The lines within the composition draws the viewer into several directions. The ruffles draw the eyes upward to the Daniel’s finger as it points to the right. Daniel’s finger directs the viewer horizontally as it does the king. The table with its array of dishes is another example of a horizontal line. The king’s hands are holding a fork and knife. The fork is also pointing right where as the knife is pointing left diagonally towards the king. The courtesan, leaning against the king’s right shoulder, is another example of a diagonal line. The painting also has a vertical feel to it. This is evident in the composition of Daniel standing, the candle and the arm holding the cigar. Like every line, every color used draw attention to the object.

The three most significant art principles I found in this painting are the contrast of the light and dark areas, the focal point being his aunt, and the sense of unity conveyed. The contrast of colors shows the natural cast of shadows within an

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

Friar Lawrence is a sacred figure which fits the traditional characteristics of tragic heroes in English literature. Citizens in Verona, despite their polar ethical values and family history, all recognize him as a prestigious man who always helps others to the best of his ability. This is shown when Juliet and Romeo confide in Friar Lawrence to conduct their secret marriage, “We met, we woo’d, and made exchange of vow, I will tell thee as we pass, but this I pray, that thou consent to marry us today,” (II, 3). His holy impression on people is illustrated when the prince states “We still have known thee for a holy man,” (V, 3). Through his high prestige, all citizens in Verona follow his lead without ever questioning the rationality and practicality behind his

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

Aside from linear perspective, Calabrese incorporates other geometrical forms throughout the composition. One is the circle at the foreground of the painting, which Calabrese offers the audience to complete. More outstanding is the triangle that occupies the majority of the space. John’s body, parallel to his staff, begs the viewer to trace the triangle from his eyes, across the woman and the lamb in the foreground, up the staff, and through to his hand. This triangle is significant in its symbolism of the Holy Trinity: God the Father, God the Holy Spirit, and God the Son. The message here is clear; through Jesus, the lamb, one will be saved. It is also interesting that Calabrese places John between the lamb and his hand. It coincides with the paintings’ function as an altar piece in that John serves as an intercessor to the Divine. Through him, one has access to Jesus, and therefore God. The geometrical lines and shapes add to the painting’s dynamism and contribute to the optimistic promise the painting conveys.

There is negative spacing present in the work, but it is used to create a feeling of depth, not for the actual subjects. The artwork is two dimensional, but due to the outer shadowing and inner colors, the illusion that the scene is being viewed through a window can be perceived. In fact, the proximity of the figures to the painting as a whole gives it “a slightly claustrophobic composition” (Langdon 7). Organic form is used in the painting since the emphasis is on the three figures. Caravaggio’s attention to proportions, lines, and multiple linear perspectives draws the eyes to multiple points, creating a story and action. Prominent lines are visible on the young cheater’s clothing on his back and on his elder partner’s sleeve. The lines on the young cheat’s tunic direct the gaze to the elder cheater’s face and fingers, where the viewer can see the trickery unfolding. The elder cheat’s arm is bent, creating an arrow effect within the painting. This arrow effect points directly at the cards that the young boy is

A man and woman are walking over the bridge while a dog is walking toward them, and another man is gazing out in the water. In this painting I have three orthogonal lines starting with the first one on the top corner of the building on the left side. This line then follows across the roofline, down through the man walking’s neck, through the woman’s skirt. This line then finishes on the cement and ending on the shadow of the dog. Orthogonal line two starts at the end of the bridge railing on the bottom right side. The line then continues down the railing, crossing through the old man in green and through the woman and man walking near each other. This line will end on the building in the left corner and right above the buggy by finishing on the building. The third and final line starts along the sidewalk on the bottom left side, leading up the sidewalk and going through the man’s coat, head and hat, while ending on building in the middle of the painting. The vanishing point leads us to the man that’s walking’s head while he is looking away at the water. This vanishing point pulls the focus of the painting on the man and also the women next to him on the bridge.

From all of the color used in the work of art the main focus is the point where the hand is

The island presented in the painting is located in Paris. Seurat made a successful attempt to capture the reality in his canvas through the brush. The island was well known for the rich peoples get away. The island was mostly famous in the Parisian community. However, in the painting objects and people do not represent the reality of that time. The non-resemblance to the reality was one of the major issues due to which “A Sunday Afternoon on the Island of La Grande Jatte” was criticized by the public. The painting was also not quite appreciated because according to the art critics of 1800’s the painting lacked the academic texture. The painting was a representation of painterly texture that was quite unacceptable at the time. While Seurat was

The civilization of Ancient Rome ruled much of Europe for over a thousand years. During this period, the Roman arts flourished. Greek art had the greatest influence on the Romans. Roman artists often focused on the gods, goddesses, philosophers, and important politicians. Many artists expressed this admiration in sculptures, paintings, architecture, and pottery. Roman art was based on a family’s legacy and the history of Rome unlike the Greek focus of myths. Roman art used real life people and objects specifically portraits, murals, and pictorials. In 79 A.D., the Roman city of Pompeii suffered a devastating volcano explosion of Mount Vesuvius destroying countless Roman art pieces. Years later, a limited number of pieces were recovered.